| Photos (see all 7 | slideshow) |
| Robert De Niro | ... | Monroe Stahr | |
| Tony Curtis | ... | Rodriguez | |
| Robert Mitchum | ... | Pat Brady | |
| Jeanne Moreau | ... | Didi | |
| Jack Nicholson | ... | Brimmer | |
| Donald Pleasence | ... | Boxley | |
| Ray Milland | ... | Fleishacker | |
| Dana Andrews | ... | Red Ridingwood | |
| Ingrid Boulting | ... | Kathleen Moore | |
| Peter Strauss | ... | Wylie | |
| Theresa Russell | ... | Cecilia Brady | |
| Tige Andrews | ... | Popolos | |
| Morgan Farley | ... | Marcus | |
| John Carradine | ... | Tour guide | |
| Jeff Corey | ... | Doctor | |
| Diane Shalet | ... | Stahr's secretary | |
| Seymour Cassel | ... | Seal trainer | |
| Anjelica Huston | ... | Edna (as Angelica Huston) | |
| Bonnie Bartlett | ... | Brady's secretary | |
| Sharon Masters | ... | Brady's secretary | |
| Eric Christmas | ... | Norman | |
| Leslie Curtis | ... | Mrs. Rodriguez | |
| Lloyd Kino | ... | Butler | |
| Brendan Burns | ... | Assistant editor | |
| Carrie Miller | ... | Ladly in restaurant | |
| Peggy Feury | ... | Hairdresser | |
| Betsy Jones-Moreland | ... | Lady writer | |
| Patricia Singer | ... | Girl on beach | |
| rest of cast listed alphabetically: | |||
| Pamela Guest | ... | Stahr's secretary (as Pamela Seamon) | |
| Don Brodie | ... | Extra on Set (uncredited) | |
| Nicholas Cairis | ... | Man at front table (uncredited) | |
| Jester Hairston | ... | Waiter in Stahr's office (uncredited) | |
| Byron Morrow | ... | Studio executive (uncredited) | |
| Montana Smoyer | ... | Disgruntled lady on elevator talking to husband (uncredited) | |
| H.M. Wynant | ... | Man at daillies (uncredited) | |
Directed by | |||
| Elia Kazan | |||
Writing credits(in alphabetical order) | ||
| F. Scott Fitzgerald | novel | |
| Harold Pinter | writer | |
Produced by | |||
| Sam Spiegel | .... | producer | |
Original Music by | |||
| Maurice Jarre | |||
Cinematography by | |||
| Victor J. Kemper | |||
Film Editing by | |||
| Richard Marks | |||
Production Design by | |||
| Gene Callahan | |||
Art Direction by | |||
| Jack T. Collis | |||
Set Decoration by | |||
| Jerry Wunderlich | |||
Costume Design by | |||
| Anna Hill Johnstone | |||
| Anthea Sylbert | |||
Makeup Department | |||
| Gary Liddiard | .... | makeup artist | |
| Jean Burt Reilly | .... | hair stylist | |
Production Management | |||
| Lloyd Anderson | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Gary Daigler | .... | second assistant director | |
| Daniel McCauley | .... | first assistant director (as Danny McCauley) | |
| Ron Wright | .... | second assistant director | |
Sound Department | |||
| Larry Jost | .... | sound mixer | |
| Barbara Fallick Marks | .... | sound editor (as Barbara Marks) | |
| Ronald Poore | .... | sound editor | |
| Robert M. Reitano | .... | sound editor (as Robert Reitano) | |
| Winston Ryder | .... | sound editor | |
| Dick Vorisek | .... | sound re-recording mixer | |
Special Effects by | |||
| Henry Millar | .... | special effects | |
Camera and Electrical Department | |||
| Bob Rose | .... | key grip | |
Music Department | |||
| Joseph Glassman | .... | music editor | |
Other crew | |||
| Daniel McCauley | .... | title designer | |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb USA section | Add this title to MyMovies |
The Last Tycoon revolves around a 1930s movie mogul Monroe Stahr (Robert De Niro) and gives an insight into the studio system of the time. De Niro gives a subtle and sensitive performance as Stahr who becomes distracted following a chance sighting which reminds him of a love from his past. The ensuing budding romance is accompanied by a haunting Maurice Jarre score and beautiful cinematography. At times, though, this part of the film feels drawn out and not enough time is given to the star-studded supporting cast - especially Jack Nicholson, who has great scenes at the end of the film with De Niro. There are plenty of familiar faces, including Robert Mitchum, Tony Curtis, Ray Milland, Dana Andrews and Anjelica Huston, who mainly appear in cameo roles. The film as a whole is richly detailed and absorbing and is a compelling portrait of Stahr's work and love - a love invoked from the past that gradually unravels his grip on the present.